Director: Peter Berg
Writer: Sean O’Keefe, Brian Helgeland
Stars: Mark Wahlberg, Winston Duke, Alan Arkin

Synopsis: When two Boston police officers are murdered, ex-cop Spenser teams up with his no-nonsense roommate, Hawk, to take down criminals.

[/info]

If you look at Spenser Confidential from the outside, it’s both the film you would expect it to be, and the film that it had to be. It’s director Peter Berg’s fifth film in a string of collaborations with Boston’s homeboy, Mark Wahlberg. But unlike Patriot’s Day or Deepwater Horizon, two lopsided spectacles that both worked with odd competency, the duo’s latest follows Mile 22. While Berg directed with an efficient, if not tasteless style in the past, that 2018 project should have been the first film to win Most Directed Film at the Razzies (hey, if Michael Bay couldn’t, maybe Peter could get this category rolling). Spenser Confidential follows Mile 22’s pile of dreck with a harmless experience that would be hard to recall in a few days if not for the handful of misguided choices that act as wallpaper to a dollar store police thriller.

The barebones of Spenser Confidential paint a project more average than humanly possible. The titular character of Spesner (Mark Wahlberg) is an ex-convict and ex-police officer whose recent release from jail has put him back onto the streets of Boston. If you’ve ever heard someone say “the location is a character in this movie,” it turns out they were lying, because Spenser Confidential seems like it was created as a tribute to the cliches of Boston. When moving back to Southie, Henry (Alan Arkin… yes, that Alan Arking) provides Spenser with a bedroom and a new roommate, Hawk (Winston Duke). Blah, blah, blah, the two team up to do something nonsubstaial about murderers and corrupt police officers.

As the plot unfolds, the film moves into a solid groove of mediocrity. Wahlberg does his typical mannerisms, Duke tries to create a character out of nothing, and Alan Arkin is here for a reason unknown to me. While the Boston stereotypes are laid on hard, there are a few entertaining sections, including one that introduces Hawk’s abilities in the fighting ring. These little moments make Spenser Confidential worth enjoying, but particularly as an opportunity to savor every moment that we get to spend with Mark Wahlberg. He’s such a ridiculous person, not only as an actor but as a public figure as well. Anytime you see him, he’s just a happy presence, an actor who has no idea what to make of his body language, his mannerisms, his figure as a brute force. He can’t even make the last one work, he’s just too goofy.

At this point in the review, I’d like to turn and focus on the soundtrack and chosen music for Spenser Confidential, as it is one of the funniest collections of music in film. In an opening scene, where Spenser is still in jail, he fights off a series of people in the jail’s library(including Post Malone!), which is set to “Foreplay/Long Time” by…Boston, of course. When he gets home from prison, he has sex with his girlfriend in a public bathroom, set to “Feels Like the First Time” by Foriegner, one of the cheeisiest songs of all time. She yells out “Go, Sox” at one point. When he fights a bunch of cops in a bar’s bathroom, the movie peaks at Wahlberg being humorously flung into a toilet stall set to Neil Diamond’s “Sweet Caroline.” I mean, Jesus, that’s a bad needle drop. While these ridiculous choices make this film worth seeing, it’s disappointing to see Peter Berg slink away from what seemed like a solid career as an action-craftsman/director for hire. He can apply competence, he just doesn’t seem to want to.

Overall Grade: C+

[divider]

Director: Tanya Wexler
Writer: Brian Sacca
Stars: Zoey Deutch, Jai Courtney, Judy Greer

Synopsis: Set in the underworld of debt-collecting and follows the homegrown hustler Peg Dahl, who will do anything to escape Buffalo, NY.

[/info]

Zoey Deutch is a gift all of humanity should be thankful for. Any movie with her name in the credits should be on everyone’s watchlist. Her latest film is Buffaloed, a dark comedy about a girl who wants more in life and is willing to bend the rules to get it. This film may not be for everyone, but I recommend checking it out just for Zoey Deutch.

Buffaloed tells the story of Peg Dahl (Zoey Deutch) born into a blue collar family and the only person in her family that seems to want to make money and get out of town- even if she has to hustle people to do it. Peg comes up with many schemes, from selling cigarettes to counterfeiting Bills tickets. After serving time in jail, Peg is called by debt collectors. After some fast talking, Peg convinces the man on the phone to let her into the underworld of debt collectors. Her skills quickly make her the most successful person there, so Peg decides to go out on her own so she can make more money. This angers her former boss, Wizz (Jai Courtney), and their feud and accompanying shenanigans attract the attention of the authorities.

Zoey Deutch is the heart and soul of this movie. Without her, I don’t know if I would have been interested in Buffaloed at all. Her character does a lot of unlikable things, but because it’s Deutch we forgive her and keep watching. This is also the first film of hers where I really thought she resembled her mom, Lea Thompson (Back to the Future). The supporting cast was also good, I particularly like Judy Greer as Peg’s Mom Kathy and Jai Courtney as debt collector crime boss Wizz. I also loved the atmosphere of this film. It reminded me of where I grew up in the midwest (I know Buffalo, NY is not in the midwest…) with it’s slang and use of the (correct) word for carbonated beverages, pop. If you liked The Wolf of Wall Street (2013), Buffaloed is kind of in that same genre of “rag-tag group makes money in a sketchy way” flick.

I don’t have a lot of criticism for Buffaloed. My only complaint is it was sometimes hard to follow and I really wanted more for Peg. I really felt for her. She was intelligent and street smart and I felt like she could do so much more if she just had the opportunity. Frustratingly, her bad decisions and poor judgement kept holding her back. The movie was still entertaining, even if things didn’t pan out exactly as I wanted.

Buffaloed is a fun flick that proves, once again, that Zoey Deutch is a force to be reckoned with. She easily carries most of this film on her own and looked like she enjoyed every minute of it. She’s fantastic in comedic roles and I can’t wait to see her in something that will gain more awards attention. Buffaloed is available to rent or buy on a few streaming platforms (Amazon, YouTube, Vudu) and since theatrical releases are on hold for a bit, I strongly encourage you to check out this one.

Overall Grade: B

[divider]

Hear our podcast review on Extra Film:

[divider]

Director: Dan Scanlon
Writer: Dan Scanlon, Jason Headley, Keith Bunin
Stars: Tom Holland, Chris Pratt, Julia Louis-Dreyfus, Octavia Spencer

Synopsis: Set in a suburban fantasy world, two teenage elf brothers embark on a quest to discover if there is still magic out there.

[/info]

Dan Scanlon is back in the director’s chair at Pixar after his debut in 2013 with Monsters University, a fine film even if lesser than its predecessor. Onward is his latest, and the inspiration for it is actually quite the heartwarming story. If you haven’t heard the story, do yourself a favor and look it up, it’s well worth your time. Long story short, it involves Scanlon, his brother and their father, who unfortunately passed away when they were young. I won’t give the rest of it away, but when you hear it and how it tethers to Onward itself, it’s enough to make a grown man cry. Or maybe just me, but you guys know me.

Onward tells the tale of two brothers in Ian (Tom Holland) and Barley (Chris Pratt), who live in a suburban fantasy world that used to be ruled my magic. However, due to modern technology, magic of old is now obsolete. The film opens on Ian’s 16th birthday, but instead of being happy for himself, he’s still thinking about his late father, who he has no memories of since he unfortunately passed away when Ian was just a baby boy. To his surprise, though, Ian’s mother offers him up a gift from his father that he and Barley were supposed to receive once both reached the age of 16. It turns out to be a magical staff that would bring their father back for a 24-hour period. Once Ian figures out how to use the staff, there’s an error, and only his father’s legs are brought back via the spell. From there, Onward is an enthralling journey as Ian and Barley embark on a quest to discover a way to finish the spell before their father disappears forever.

Perhaps what’s most intriguing about Onward, however, is that its central premise is kind of a red herring. As Ian and Barley set off on their quest together, the film cogently demonstrates their motivation and urgency as they are desperate to see their father again. A notion that slyly leads you to believe one thing, but really, at its core, the film is really more about brotherhood and how sibling love can fill the void of a missing parent. Up until his 16th birthday, all Ian had was stories that others told him about his father. And he clutched on to those stories as if they were gold. Eventually though, Ian realizes that his life hasn’t been as empty as he thought, and the dynamic between Ian and Barley inside those notions is quite affecting. In one specific moment in the film’s climax, it heavily subverts expectation as we see Ian make a bold choice regarding Barley and his father, crystallizing the film’s themes and springing the water works.

Where Onward stumbles slightly, is in its editing and execution. Particularly, the side plot involving Laurel and The Manticore, and their escapades throughout the film. Scanlon and company do a great job of building momentum, emotionally and dramatically, only to then undermine that progression by cutting away from Ian and Barley, and in most cases for a silly gag or unnecessary meandering. Julia Louis-Dreyfus and Octavia Spencer give great vocal performances respectfully, though.

As is the case with all Pixar film’s, the animation here is great. Its use of colors and shadows, the way this world is rendered, the distinct ideas around magic, it’s all vivid and imaginative. On the same token, it wouldn’t be a Pixar film either without a great score, and Mychael and Jeff Danna do not disappoint. It may be be the most memorable in Pixar’s cannon, but it’s a worthy entry.

Where Onward thrives the most is in its emotion. Shocking, I know. But that is what Disney/Pixar does best and when the film is focused on that, and reveling in that inspiration I mentioned earlier, you can sense Dan Scanlon’s passion for this story. The relationship between Ian and Barley, and how that evolves, is nothing short of sublime. In fact, it’s so tender that even a van sacrifice is oddly poignant. And it ends in a way, that’s not only bold, but it ebulliently evokes the wonder of magic in our lives, and how that can come in the most unexpected of ways.

It’s not perfect, but I still admire what its aiming for and the challenges its taking on when it comes to death, grief and coping with it at a young age. Give me that any day of the week.

Overall Grade: B+

[divider]

Hear our podcast review on Episode 368:

[divider]

Director: Leigh Whannell
Writer: Leigh Whannell
Stars: Elisabeth Moss, Oliver Jackson-Cohen, Harriet Dyer, Aldis Hodge, Storm Reid

Synopsis: When Cecilia’s abusive ex takes his own life and leaves her his fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia works to prove that she is being hunted by someone nobody can see.

[/info]

In Hollywood, nothing ever really dies. Whether it is a beloved character, or an entire universe, even if it fails, it will definitely be back. As recently as 2017 with The Mummy, there was an ill-fated attempt to reboot the world of Universal Monsters, even moving to the point of casting all of the monsters. Despite the star power of Tom Cruise, it failed, and with its death came the end of the entire connected universe plan. And yet, as we fast forward to 2020, at least one of the monsters has returned. With the help of Blumhouse Productions, and director Leigh Whannell have expertly revived The Invisible Man.

Among the many smart decisions made by Whannell and company is the focus on Cecilia (Elisabeth Moss). In most iterations of The Invisible Man, the first half of the film is detailing whatever crazy experiments take place which lead to the creation of the monster. Here, instead, both the opening scene (and the majority of the film, frankly) tell the story of a woman escaping an abusive relationship. That first scene is, indeed, one of the most tense few minutes of film you will see all year. Whannell uses both sound and shadow to replicate the fear that Cecilia must be feeling in that moment. Not to solely focus on that first scene, but probably the best choice made is to never truly show what Adrian (Oliver Jackson-Cohen) has done specifically. Instead Whannell leans on Moss, one of our best working actors. Every bit of stress and pain etched in her face tells us what we need to know. To hammer the point home, the fact that his dog has a shock collar should tell you how he treats people and animals he supposedly loves.

Through most of the rest of the movie, the audience (obviously) doesn’t see the titular villain. Although this is a monster movie, and an effective one at that, it doubles as a near perfect example of being in an abusive relationship. When an abuser puts on the costume of a “good guy,” it becomes easy for outsiders to disbelieve the reality of the situation. This is, of course, especially true if the person telling that truth is a woman. So, yes, there is a great deal of science fiction at work here, but it is also a sadly relatable story.

After the excellence of Upgrade, Whannell mastering genre work should be no surprise. For fans of his, there are some Upgrade-y moments of camerawork that didn’t quite mesh with this film, but that is a mild critique of otherwise masterful direction. He plays with both constricted and expanded space in the frame to simultaneously make you feel general horror fear and specific invisible attacker fear. When the camera is focused just in front of Cecilia, will the villain attack from out of frame? When the camera goes wide, what in the environment is about to move in impossible ways? In that latter situation, Whannell again uses shadow to great effect. So much so that you may find yourself squinting and wondering if you really did see something move, just like Cecilia.

While Moss is damn near perfect, as per usual, this is not quite a one woman show. Both her sister, Emily (Harriet Dyer) and her friend, James (Aldis Hodge), who are both police officers are wonderful additions to the cast. Hodge, who is having a fantastic run after a supporting role in Clemency, plays both the tough cop and the caring friend and father with equal believability. He and his daughter Sydney (Storm Reid) provide both some much-needed support for Cecilia, as well as people for our lead to care about when things inevitably go south. The relationship with her sister is probably the most complex in the film, and provides a moment late in the film that will likely leave audiences shaken as they leave the theater.

Blumhouse has proven once again that if you have a talented director willing to work within a small budget, you can get away with an alarming film not being a CGI fest. There is an old adage that our imaginations can come up with images much more frightening than the visual medium can ever provide. The Invisible Man, aptly, is the perfect example of this thought process. For once, an Invisible Man film doesn’t focus on the man becoming a monster. Instead, it manages to lean on the ideas of believing women (and survivors in general), even when that belies logic or our own personal experiences with them. The Invisible Man is a much better film than expected, and quickly moves past simple genre to become a movie that should make you viscerally feel what it is like deep in the throes of a dangerous relationship.

Overall Grade: A-

[divider]

Hear our podcast review on Episode 367:

[divider]

Director: Kirill Mikhanovsky
Writer: Alice Austen, Kirill Mikhanovsky
Stars: Lauren ‘Lolo’ Spencer, Chris Galust, Maxim Stoyanov

Synopsis: In this freewheeling comedy, medical transport driver Vic risks his job to shuttle a group of rowdy seniors and a Russian boxer to a funeral, dragging clients like Tracy, a young woman with ALS, along for the ride.

[/info]

As someone who gets quite anxious at just the thought of being even slightly late for anything, I found the premise of Give Me Liberty pretty stressful. Furthermore, I also for a time, like our protagonist, used to drive van-loads of loud, capricious people around while they occasionally yelled at me. So my sympathies were absolutely with him from the jump.

My passengers were entitled film and commercial producers; I was their production assistant. Vic (Chris Galust), on the other hand, drives a medical transport vehicle. His disruptive folks onboard, though, are not his regular passengers but rather a small mob of elderly Russians who commandeer his van when the bus that was supposed to take them to a funeral for a friend doesn’t show up.

They’re the other residents from the apartment building where Vic lives with his possibly senile grandfather. He cares about them, so he risks his job to chauffeur them across town to the cemetery, while attempting to pick up and drop off his legitimate passengers along the way… Lots of humor ensues.

Director Kirill Mikhanovsky assembled a relatively large cast of non-professional actors for his latest venture. Reportedly, many of these folks came from a Milwaukee vocational school for persons with disabilities and a community of Russian immigrants. The performances of this ensemble cast have an unencumbered nature to them—a sort of instinctual naturalism that years of perfecting a craft can beat out of some artists.

A true standout among this vibrant cast of characters is a young woman named Tracy (Lauren “Lolo” Spencer). Spencer is one of this film’s main breakout scene-stealers. She’s a welcome dose of comedic relief in this already-madcap caper. Tracy is a lively and resolute presence in Vic’s van as someone not to be crossed—or else her sharp tongue will slice you in half. See, unlike most of these passengers, she’s actually supposed to be riding. Her saltiness at being delayed is delightfully palpable and great fun to watch. Spencer proves that she deserved that Film Independent Spirit Award nomination, and I wish her a fruitful career.

The other supporting standout comes in the form of the marvelously chaotic Dima (Maxim Stoianov). As ridiculous as Give Me Liberty gets at times—and it can get ridiculous—the audience can always count on Dima to up the ante and thereby somehow ground the goings-ons. Part of me doubts that such a magnanimous person could even exists, but it works nonetheless. In the vein of Peter Stormare, Stoianov feels like a type of character actor who, if he plays his cards right, could have a monopoly on all of Hollywood’s vaguely Eastern European roles—the funny ones as well as the villainous ones. Because he deserves them.

Of course the outright star of the film is Galust, who is simply wonderful in his debut turn, giving a beautifully understated yet multi-faceted performance. Film Independent deemed him worthy of a nomination for Best Male Lead, and I’m inclined to agree. Galust is able to carry Give Me Liberty with a commanding performance that never slips into showy territory. He has a warm stoicism that feels very at home in this era of confident, low-key young actors… (We all ought to be so grateful that Dane DeHaan and Timmy Chalamet have brought this love child of theirs into the world, for the sake of indie cinema and for our eyes.)

As a storyteller, Mikhanovsky definitely does not shy away from the real world issues that plague all corners of the United States. For what is in many respects a “road movie,” the characters of Give Me Liberty do not travel very far—just a handful of in-town miles—because they keep encountering detours caused by protests. The non-white civilians of Milwaukee have had it with the police violence in their city, and their justifiable urban disruptions create obstacles for our protagonists—obstacles that must be addressed in order to move forward. If for nothing else, Mikhanovsky must be commended to for the representation found in his film.

The folks of Film Independent chose Give Me Liberty as the winner of their John Cassavetes Award, which is given to the filmmakers of the best film with a budget below $500,000. And let me tell you… half a million dollars may sound like a substantial sum, but it’s truly not very much money in the production world. The lines of expenditures add up pretty quickly. Looking at it, Give Me Liberty is undoubtedly a low-budget picture, but Mikhanovsky’s shoestrings must also be magic wands, because with an ensemble and geographic footprint of this size… Wow! I just hope the entire cast and crew were paid well, or paid period. (I’m doubtful, though.)

Bottom line: Give Me Liberty is an eccentric little comedy with plenty of barely contained haywire and whole lot of heart. Plus, I’ve been to Wisconsin, and let’s just say I can see the events of this story unfolding there. Take that as you will.

Overall Grade: B+

[divider]